OSCar MONOPHONIC SYNTHESIZER (Full Midi V3)

via this auction

"Polyphony - Monophonic (Duophonic via built-in Sequencer)
Oscillators - 2 DCO's with sawtooth, triangle, and square-, variable- or modulated-pulse waveforms and 5 preset digital wavefroms
LFO - 1 LFO with square, triangle, sawtooth waveforms, sample-and-hold
Filter - Two 12dB/oct analog filters which can be linked in series for 24dB/oct configuration. Lowpass, bandpass, highpass modes.
Dedicated ADSR envelope, Frequency Cutoff and Resonance controls.
VCA - Two ADSR Envelopes
Keyboard - 37 keys
Memory - MIDI Model: 12 user, 24 preset patches. MIDI-equipped V3 (latest): 36 programmable patches. Custom Waveforms: 24 programmable digital waveforms.
waves. Sequencer: 24 sequences.
Control - Trigger In, full MIDI spec.
Date Produced - 1985

OSCar
The OSCar is a classic mono-synth from British manufacturer Oxford Synthesiser Company (OSC). It first appeared on the scene in 1983 and was considered then to be in the same class as the Arp Odyssey & Minimoog mono-synths (it is). Its late arrival makes it one of the more advanced programmable mono-synths. Amazing sounds and digitally controlled dual oscillators with analog filters and plenty of programmabilitie. It also has full midi MIDI spec.

The Oscar is monophonic, but can also achieve duophonic capability when using just one oscillator per voice. Waveforms offered include sawtooth, triangle, and square, variable, or modulated-pulse waveforms. In addition to these analog waveforms, there's an additive-synthesis function allowing you to create your own custom waveforms by simply mixing the amplitudes of any of its 24 harmonics using the keyboard. Up to 24 of these custom waves can be stored and used with either oscillator. Once you've got some sounds it's time to hit the filter section - the real analog heart of this synth! It has two 12dB/oct filters which can be linked for a steeper 24dB/oct slope. It features switchable lowpass, highpass and bandpass filtering and your basic frequency cutoff and resonance type controls. The filter has its own ADSR envelope as well (a second ADSR envelope controls the amplifier section). The filter can also be modulated by the LFO. The OSCar's LFO offers triangle, sawtooth, square, and other wave shapes and can also be used to modulate the amp, pitch, or pulse-width. There's even a sample-and-hold function. A simple built-in sequencer gave the OSCar duophonic capabilities! It could play a sequence on one of the oscillators while the keyboard can be used to simultaneously play along with the sequence. It stores up to 24 sequences. With full MIDI spec (V3) you can easily synchronize your OSCar and other MIDI gear together and a computer! The sound patches that are stored in memory can also be dumped via MIDI to more permanent storage mediums. MIDI models also offered 36 programmable memory patches which are assigned to the actual keyboard keys (pre-MIDI models had 12 preset and 24 user patches). The OSCar is very hard to find as there are little more than 2000 in excistence, so now is your chance.

It is working well and has been well maintained over the years by the same qualified engineer who used to work in the famous 'Rod Argents Keyboards' in Denmark Street, London W1, the same place I purchased her back in 1985.

‘Sequencer’
The OSCar's sequencer, operates in step-time mode, and is fairly sophisticated. It features the rare ability to lengthen notes or insert spaces, so that it isn't restricted to producing an
endless stream of notes of identical length. This is done by holding down the required note while advancing the step button, or pressing the Space button just below the wheels.
Twenty-four sequences can be stored (the numbered keys being pressed into service for one more function) but then these can be chained together into more complex sequences, complete with program changes. As a result, with a bit of planning, you can produce really quite sophisticated bass lines and other monophonic sequences, whilst playing a second part over the top, if you want. All this can be triggered externally via a Click In which is ideal for interfacing with the drum machines of the day (Linn, Emu Drumulator, Sequential Drumtrak) and OSCar can often be seen as one half of a very tight rhythm section at live gigs. There is even the facility to sub-divide the incoming clocks to create slower or faster lines without spending hours inserting Spaces or making each note four times the length. The same triggering is available on the arpeggiator, which made it amongst the most flexible of the day with multiple octave ranges and random ordering. Or you can just use your computer for sequencing and a nice midi cable, it's your choice.

Oxford Synthesiser Company OSCar Specifications
* Type: Synth/ keyboard/
* Synthesis Type: Digital Accoustic simulation Subtractive, Additive (24 harmonics)
* Polyphony:
o Max: 2
o Typical in use: 1
* Multi-timbral (number of parts): 1
* Oscillators per Voice :
o Min : 1
o Max : 2
* Controllers : Pitch bend, mod wheel, (sysex?)
* Effects :
o Number of FX units : 0
o Number of different effects : 0
* Keyboard :
o Number of Keys : 37
o Can send on 1 simultaneous MIDI channels
o Responds to :
o Sounds can be split by :
* Memory :
o Patches : First versions: 12 RAM/24 ROM. Later versions: 36 RAM.
o Performances :
* Inputs and Outputs :
o Number of Audio Outs (excluding Phones) : 1 stereo
o Number of Audio Ins : 0
o Number of MIDI Outs (excluding Thru) : 1 (if MIDI'ed)
o Number of MIDI Ins : 1 (if MIDI'ed)

Well known artists credited as using OSCars include:
* Billy Currie, Chris Cross and Midge Ure of Ultravox
* John Foxx
* Geoff Downes (Asia)
* Jean-Michel Jarre and Dominique Perrier
* Keith Emerson
* Stevie Wonder
* Tim Simenon
* Sneaker Pimps

Examples of OSCar sounds on commercial releases include:
* Ultravox - "Love's Great Adventure" (solo, atonal sequence)
* Band Aid - "Do They Know It's Christmas" (bass line)
* Jean-Michel Jarre - "Revolutions Overture" (bass line, solo at climax)
* Stevie Wonder - "Skeletons" (bass line [with Elka Synthex])
* S-Express - "Theme From S-Express" (bass line)"

ROCK SCHOOL - Series 2 - Episode 3 (part 1 of 3)

YouTube via tomstimemachine. sent my way via khoral

"Taking over from where the first series left off, the second set of ROCKSCHOOL television programs focuses its attention on new technology and its implications for the musicians of the day.

Synthesisers, samplers, sequencers and drum machines are all covered, as are electronic drum systems, computer hardware and software (remember this is 1987 - so this is for retro-heads only) and synthesisers for guitar and bass. There are also tips on how to make the most of the human voice, and on songwriting and arrangement.

This series was shown on TV in the UK during 1987.

EPISODE THREE

EIGHTIES SYNTHPOP
CLIP OF THE YELLOW MAGIC ORCHESTRA IN 1979, CLIP OF BRONSKI BEAT.

SO ! - HOW DO YOU MAKE UP THESE SINGLE NOTE MELODIES ?
MAJOR AND MINOR SCALES, TRIADS, CHORDS, CHORD INVERSIONS AND TWO-HANDED KEYBOARD PLAYING.

THE VOCALS
CLIP FROM JAMES BROWN, MIDGE URE ON VOCAL TECHNIQUE AND GRAHAM BONNETT ON LOOKING AFTER YOUR VOICE, CLIP FROM EURYTHMICS."

CLICK FOR MORE »

The Nord Lead used as.. a Lead

Tegan And Sara - The Con [OFFICIAL Video]

YouTube via SireRecords.
"The Con by Tegan And Sara.
Directed by Suzie Vlcek"
http://teganandsara.com/
http://www.myspace.com/teganandsara

Matthew Sweet "Where You Get Love"

YouTube via PostModVid. Not the best quality video, but this is the best I could find on the tube. BTW, I can thank Matthew Sweet for my Clavia Nord Lead 1. I used to go see him perform live. My wife loved his music and asked what that red synth the band was playing all the leads with in every show. I said it's this new cool synth called the Clavia Nord Lead. She said I should get one and eventually talked me into it with some extra money that came in at just the right time. :)

BTW, Mathew Sweet has an ARP 2600 in the following video. Anyone know if it's his and if not who's it is?

Matthew Sweet "Sick of Myself"

YouTube via detour066. "This speaks for itself." Again not the best quality, but the best of the two I found.
http://matthewsweet.com/
http://www.myspace.com/matthewsweetmusic

Back to the Clavia Nord Lead (and the purpose of this post), it definitely has it's own character and it excels at lead sounds. All synths are obviously capable of a wide range of sounds including leads, but you have to wonder how much it's strength in it's character lead to the name of the synth.

If you know of other tracks featuring *that* Nord Lead sound feel free to share. Also feel free to comment on other specific synth lead sounds you think stand out in general. The MicroKORG detuned saw in various tracks, such as The Killers' Somebody Told Me comes to mind. I'd post the video but there's no embed code for it. Side note: every time I hear that track I hear bits of Midge Ure and early Robert Smith. Their new track Human sounds like Alphaville. Not much synth playing in the video but you can see their MicroKORG. I like bands that own, show and stick to their synths. Ladytron, and the Dandy Warhols with their KORG MS20s come to mind.

Human

Ultravox on Beeb schools prog 1983 (smaller file)

YouTube via lieutenant030.

ARP Odyssey, PPG Wave 2.?, LinnDrum, Minimoog. Note the user created wavetable of Midge Ure's voice on the PPG. Also see this post for a special note on the mini. The August link takes you to a post back in August of 2006 when I originally posted the Minimoog portion of this video.
"Smaller file than 1st upload for low bandwisth users. This has been edited from the Schools programme "Science Topics" broadcast in 1983. This episode was title "Electronics In Action" and contains footage of the band performing on the Oxford Road Show in 1982, tinkering with Lament in the studio and Midge demo-ing antique synth!"

Eric Clapton and Phil Collins - Behind the Mask

YouTube via MeanAuntie

OK, I'm stretching it with this one, but this is truly bizarre. YMO's Behind the Mask with Eric Clapton and others. For reference see these posts. Spot the synths.
"Prince's Trust circa '87 - Clapton, Collins, Midge Ure, various others... Behind the Mask"

Update via tim in the comments:
"Clapton's cover came about because of Greg Philliganes being his keyboardist at the time. He did a version on his 1984 album Pulse, with uncredited backing vocals and added lyrics by Michael Jackson. And I think Jackson had considered doing it on Thriller after Quincy Jones pointed out the original to him."

And some fascinating info from the AH list:
"I don't think anyone's spoken up about lyricist or how that song got to Clapton;-)

Okay. First off Yellow Magic Orchestra was meant to be a more or less one-off concept project in Japan (1978) it was meant to be as if Martin Denny's music was played by Kraftwerk. In other words taking the West's notion of inauthentic but cool "Oriental" music and give it the edge of modern technology (the impression Westerners had of Japan).

A&M Records liked what they heard, moderately remixed it to their tastes and YMO were ready to tour and promote the album. They did a lot of promotion in LA, then swung by NYC, London and Paris. The year was 1979. Back in Japan they were doing well though not chart topping. They eventually did gain real chart success in Japan. Their success was more moderate in the US though their use of video games and electronic beats was influential. They took 1982 off for Sakamoto to work on "Merry Christmas Mr. Lawrence" and then reformed in 1983 with the understanding that they'd disband at the end of the year. They really did want to go their own ways but it was a great marketing tool to really make them iconic in Japan. They reformed 10 years later for a one-off album and concert.

They started to work together again on and off in the 2000s. They have a show next weekend in London. Definitely a one off thing. I guess they were asked nicely by Massive Attack to do a show. They aren't promoting anything new or doing more shows. I sort of wish I could go.

As for gear, it's ironic that they played maybe 90% American synths. Early on - lots of Moog Modular. Later on lots of Prophet. Always: Arp Odyssey. They do sound very different in 1983 versus 1978.

Okay now for the weird part of the Clapton story -- Michael Jackson took an interest in high tech music in the early 80s. He was trying to get Kraftwerk to work with him but nothing came of it. What did happen was YMO's song "Behind the Mask" originally only had "chorus" vocals so he wrote new lead lyrics and kept the chorus. I assume he wrote the song for himself to sing, but he had lots of (all original) material then so it was offered to Clapton. It did quite well in terms of Clapton's career. Sakamoto, who wrote the melody (Chris Mosdel did the chorus lyrics) liked the new lyrics and the then prestige of Michael Jackson' additions. There is a mid 80s EP of Sakamoto's solo band doing it. He was trying to do a more contemporary R&B sound back then (not intended to be ironic). YMO's label commissioned Human League to do a remix version in the early 90s, instead (apparently) they did a cover version.

nick
http://technopop.info"

Ultravox Live Aid

YouTube via Indio70. "The 2 songs that were edited out off the official DVD... here they are again enjoy."

Ultravox performing Reap the Wild Wind followed by One Day at Live Aid 1985. One Day is definitely the stronger performance. It's almost like they are just warming up with Reap the Wild Wind. The performance gets even better below. Be sure to catch Vienna. Billy whips out the violin. In the video above: Midge on E-Mu Emulator II and Billy on a Yamaha DX7 and Kurzweil K250.

I remember staying up until the wee hours of the night/morning to catch this live when it was first aired. I forget if they aired all four songs in the US but I definitely remember Vienna and at least one other. If you remember, feel free to comment.

BTW, Midge Ure was the co-organizer behind Live Aid, but for whatever reason I only remember seeing Bob Geldof receiving most of the limelight. I always wondered about that. Probably because Geldof was the main organizer and he was a bit more known in the states? Who knows...


"Here is the 2 other songs from Live Aid -85. These made it on the DVD. Classic Ultravox moment. Don't forget 2 view the other part, with the 2 songs that was cut out of the final DVD."

Dancing With Tears in My Eyes followed by Vienna. Chris Cross on PPG Wave 2.2. I also think I see an Oberheim DX drum machine next to the Emulator in this one. Billy on DX7, MIDIBoard and Violin. Midge on the Emulator.

Anyone know what was used for the drum effect in the original recording of Vienna? I always loved that particular sound.

For more posts on Ultravox click here, be sure to scroll for some of the more interesting posts.

Update: be sure to check out the comments for more including an update on the synths used.

David Bowie - Ashes to ashes

YouTube via marychild.

The question as to what synths were used for the end of Bowie's Ashes to Ashes came up on this VSE thread. The below was uncovered. I'm curious if this is actually in reference to the main line that runs through the song. Note Steve Strange of Visage (who also included Midge Ure and Billy Currie of Ultravox fame) is the left most extra of four when they first appear.

via Marching Pig on the VSE thread:
"Wiki has this to say:
'Perhaps Bowie's most sophisticated sonic work to date, its choir-like textures were created by Chuck Hammer with four multi-tracked guitar synthesizers, each playing opposing chord inversions; this was underpinned by Bowie's dead-pan, chanted background voices.'

Though, I've also read that they recorded it, and made 4 copies on tape; 2 were played "right side up", one backwards, and 2 were played with the "wrong/bottom side" up, again, with one of these backwards. Though, just thinking about that makes me think it's just plain wrong.


the page on Chuck Hammer, it says this:
"In March 1980, Hammer recorded guitar-synth tracks for David Bowie on the album Scary Monsters (and Super Creeps), including multiple textures across "Ashes to Ashes", 'Teenage Wildlife' and 'Up the Hill Backwards", all of which marked the earliest use of guitar-synth in Bowie's catalogue. The actual instruments utilized on these tracks included a Roland GR-500 with an Eventide Harmonizer. Textural tracks such as those on 'Ashes to Ashes' exhibited a multi-layered, approach, to recording and composing with the guitar.'"

Midge Ure's Minimoog

I put up a post on this video of Midge (Ultravox) talking about the Minimoog back in August. What I didn't notice was the green led readout above the Mixer section or the rectangle on the left (picture below). Anyone know what these are?

Previous Midge Ure posts

via Kris on AH.

Ultravox Synths Take 2

Title link takes you to a previous post I put up on Ultravox Synths. Micke just posted the following on this VSE thread.

Did you know:

1) that the fat bass line on Ultravox' song "Slow Motion" (off of Systems of romance, 1978) was actually played by Chris Cross on his EMS-Synthi?

2) that the EMS synthi, Arp Odyssey (and Elka Rhapsody) were the only synths used for U-Vox' 2nd album "Ha, Ha, Ha" (1977)?

3) that the Elka Rhapsody 610 was used for the string sounds on U-vox' first three albums?

4) that Brian Eno programmed the Minimoog (his own synth) on the early U-vox songs "My way" and "Slip Away"?

5) that the kick drum, snare and hi-hat on U'vox' cues "Dislocation" were done on Billy Currie's Arp Odyssey with lots of fx added?

6) that the Minimoog is responsible for the bassline on "Quite Man"

7) that the Oberheim OB-X was used mainly for solos on U-vox album "Rage in Eden"?

8) that Billy Currie bought a Yamaha CS-80 in late 1979 and used it on songs like "Mr.X" (Vienna), "Western promise" (Vienna") "I Remember" (Rage In Eden), "Hymn" (Quartet)?

9) that U-vox' main string-machine between 1980-1984 was the Yamaha SS-30?

10) that the Yamaha GS-1 FM synthesizer was used for the solo in "Mine for life"?

11) that the EMS-Synthi was U-vox's very first synth back in early '77 or thereabouts?
-----------

Also see Midge Ure on the Minimoog used for the bassline in Viena.

Midge Ure Talks MOOG on YouTube

Midge Ure of Ultravox. Love the accent and how he pronounces Moog. He talks about how they still used old synths at the time and at about 15 years old the Mini is somewhat of an antique. He states that you can't get synths like this anymore. Little did he know the Voyager would be coming. Pretty cool. The Minimoog provided the bass for Vienna. via Frederic. YouTube via playthatbeat.

The Synth Pistols on YouTube

Ultravox was one of my favorite bands growing up in the 80s. They are actually one of the bands that inspired me into getting a synth. Why is the title of the post The Synth Pistols? Well, Malcolm McLaren originally asked lead singer Midge Ure (Ultravox) to front The Sex Pistols, but he turned it down. John Lydon stepped in and the rest is history. Makes you wonder how things could have turned out. It's also fascinating to think Malcom McLaren was responsible for Buffalo Gals. Back then these genres of music never seemed to mix.

Here's a video of Rich Kids, Midge Ure's band prior to Ultravox featuring Glen Matlock of the Sex Pistols. No synths, just some context.

Now for some "live" synth goodness:

Sleepwalk (some dry humping synth action by Billy Currie)
Vienna (I think Midge might have been the only straight man to dress like that)

And of course some Electroclash before Electroclash - Fade to Grey by Visage. Move over Fischerspooner, Visage "taught the killing game first." Visage was another side project of Midge's along with Steve Strange on vocals (he's the guy in the video). Midge didn't sing much in Visage although you can hear him in the background on some tracks, particularly at the end of "In the Year 2525." Another bit of trivia: Billy Currie of Ultravox (THE synth player of Ultravox) actually played with Gary Numan during the transition from John Foxx to Midge Ure fronting Ultravox. Billy is actually in the video for Numan's Cars. You can find more history on Ultravox here.

Title link takes you to an Ultravox search on YouTube.

Udpate via Fred in the comments:

"Never mind the Midge Ure Ultravox, go for the real thing - the John Foxx Ultravox. 'Ha Ha Ha' (their 2nd album, 1977) is very 70's London punk with lots of wild ARP Odessy and great guitar playing by Sevie Shears who afterwards disappeared from history. 'Systems of Romance' (3rd album, 1978) is one of those records that not very many people bought but everyone who did started a band - very influential to later cyber punk and electro-industrial artists. Recorded by Conny Plank at his studio. This is rock music by killer robots - cold, hard and relentless. The first three songs are like the shock wave from an atomic bomb. One of my favorite records ever. The harsh futuristic vibe coming off this record is unsurpassed to this day (I'm still searching) and seems more prophetic than ever. John Foxxs' first album 'Metamatic' (1980) is also great and highly recomended to Kraftwerk Fans. I used to wander around Vancouver with these albums blasting out of my Toshiba ghetto blaster back in the day."

I never got around to fully checking out John Foxx's Ultravox. I just check Yahoo! Unlimited but they don't have it yet. However the do have John Foxx's Dislocated released just last year in 2005. I'm listening to it as I type this and... it's really friggin good. Hope he does more like this soon.

BTW, title link takes you to all Ultravox on YouTube including John Foxx.

Howard Jones 20th Anniversary Concert 2003

Title link takes you to some info and shots of the 2003 Howard Jones 20th anniversary concert with Midge Ure (Ultravox), Nena and Jed Hoile. There's reference to a possible DVD, but I'm having trouble finding out if it was actually made. While there, make sure to track back to the root site for a link to multimedia including some of his older videos with some synth p*rn. Via this post on VSE.



Gear List:

Classic Set
1x Drum Machine Roland TR-808
2x Monophonic Synth Moog Prodigy
1x Synth Roland Juno 60
1x Synth Roland JP-8 Super Jupiter
1x Synth/Sequencer Sequential Circuits Pro-One



Modern Rig:
(KEYBOARDS)
2 x Novation KS-4 synths
2 x Novation K-Station synths
1 x Roland a-33 master keyboard
1 x Yamaha KX-5 remote keyboard (customised)

Ultravox Gear P*rn

Yowsa! I posted earlier on Ultravox, well looks like the thread has updated and there are some amazing live shots of the band's performance in Live Aid '85 and Top of the Pops. I remember staying up all night to see them perform on Live Aid. It was amazing. I'll never forget when Billie Currie whips out the violin during Vienna. Wow. I remember the thing that bothered me at the time was that Midge Ure was the other half setting up Live Aid with Bob Geldof, but it seemed like he got zero credit. I heard he worked a bit on Live 8 with Bob again, but I heard zilch - just a rumor on a blog somewhere. I still need to look it up and confirm. Anyway, Title link takes you to the thread with more shots. If they go down for whatever reason, post a comment in this thread and I'll put them up here. I saved them just in case.

Ultravox Synths

Update: See new post on Ultravox gear p*rn.

Update: Add the Oxford Synthesizer Company's Oscar to the list. Can't beleive I forgot that one.

Ultravox at one point was my favorite band growing up. They defined a pivotal period in my adolescence and had a huge impact on me. They are actually what prompted me into wanting to play synths to begin with. There is an excellent thread going on Vintage Synth Explorer on Ultravox and the synths they used.

Listed so far (the majority of credit goes to Micke:

• Elka Rhapsody 610 - first three albums (pre Midge Ure)
• Yamaha SS30 string machines - Vienna up until the mid 80s
• Yamaha CS80
• PPG Wave 2.2 - 1982/83 onwards
• Yamaha DX7/TX816 - TX816 sometime in 1984
• Oberheim OB-X - on 1981's "Rage in Eden"
• Emu Emulator I - Sampled Synclavier strings on Hymn
• ARP Odyssey - Lead on Hymn
• Emu Emulator II - Strings on Reap the Wild Wind live (the Yamaha SS30 was originally used - I always wanted to know what those beautiful strings were)
• Moog Minimoog - in Vienna

Amazing. I always wondered what they used. The strings in Ultravox's Reap the Wild Wind and early New Order/Joy Division are my absolute two favorite string sounds. New Order/Joy Division used ARP strings.

Yamaha SS30